The present study focuses on the perceptions and expectations regarding the concert accordion in Portugal. It has as main objetives (1) to know the origin and evolution of the accordion as a musical instrument; (2) to know the history of the concert accordion in Portugal; (3) to collect portuguese repertoire for concert accordion; (4) to describe the two pieces to be played at the project work’s recital presentation, Suite n.º 1 “Imagens Pac-Chen”, by Paulo Jorge Ferreira, and Concerto para acordeão e orquestra, by Cristóvão Silva and (5) to understand to what extent the concert accordion is integrated in the Portuguese musical environment.
The goals outlined are justified by the fact that the investigator, a concert accordion player, feels motivated both to deepen his knowledge in his study and work’s area, and to make a contribution to the knowledge and affirmation of this musical instrument in Portugal. It presents a theoretical foundation that focuses on the origin and evolution of the accordion, on the concert accordion’s history in Portugal and on the portuguese repertoire for this instrument. The investigator describes and bases the methodological choices underlying this study, pointing to the case study and the enquiry through interview. The results presented are based on the analysis of the content of the interviews made to eight portuguese composers.